FT MEADE 
GenCol 1 


MAGICAL 


NOTES 

AND 


NOTIONS. 



PERCY NALDRETT. 


(Second Edition.) 
























































r 






















































. Magical . 
Notes & Notions. 

By Percy Naldrett. 

Member of the Magic Circle, London. 



Printed & Published by Percy Naldrett. 
Portsmouth, October, 1920. 


4--&H 

14 77 


First Printed November, 1913. 
Second Edition, October, 1920. 


The JOHN J. and HANNA M. McMAN US 
and MORRIS N. and CHESLEY Y. XOBM& 
Collection 

Gift — Oct. 12, 1965 ** 


Fore-Word to Second Edition. 


This little booklet was first published in the 
Autumn of 1913, and the edition was exhausted in a 
few weeks. So many enquiries having been made 
for copies, especially by those who have but recently 
taken up the Art of Magic, it was decided to re-print 
a limited edition. 

It is gratifying to find that after seven years of 
Progressive Magic, very little revision has been 
necessary ; the practical hints and ideas contained 
herein still retain their full value in matters magical. 

Yours fraternally, 






The Chocolate Box 
Mystery. 


A Pleasing item for tho Drawing-Room. 


This little combination requires very little practice 
and arrangement, as practically every magician is 
already in possession of the arcticles required for its 
accomplishment. The effect, briefly, is as follows : 

Six quite unprepared empty chocolate boxes are 
placed in a row upon a stand. Above each box is a 
number. A bundle of coloured silks is next exhibited. 
A spectator is asked to select a colour. The cor- 
responding handkerchief is now vanished. A 
number is chosen ; let us suppose, by way of 
illustration, that the chosen number is four. The 
performer removes the other boxes, showing each to 
be still empty, and a spectator is invited to open the 
remaining box, number four, and in it is discovered 
the missing silk. The plot, simply expressed, is 
this: — A chosen silk vanished and recovered from 
a chosen box. 

Requirements. 

Seven small chocolate boxes, obtainable (pre- 
war) at a penny each. Six silks of various colours 
and one duplicate silk. An ornamental stand with 


MAGICAL NOTES AND NOTIONS. 


figures attached, or a Jap tray with a piece of 
“ slate paper ” pasted over it ; the figures can then 
be chalked upon the tray during the course of the 
trick and the tray when supported by a tumbler, 
forms a very efficient stand. Personally the latter 
arrangement is preferred, as it helps to lengthen the 
trick, and in a long drawing-room entertainment a 
few seconds stolen in this way are a great help, 
providing that the audience are kept interested in 
the proceedings. 

The remaining accessories are a “ forcing pack ” 
to determine which number shall be selected, and a 
double velvet bag in order to force the required 
colour. 

Preparation. 

The duplicate silk is packed into one of the 
chocolate boxes, and the box is placed on your table 
just in front of a “ black art ” pocket. The silks 
are placed over the loaded box, thus concealing it 
from view. The remaining boxes are stacked evenly 
along the front edge of the table. 

Presentation and Patter. 

“ Ladies and gentlemen, science has made very 
great progress during the last few years ; for instance 
we have the telephone, telegraph, electric cars, 
Rag-time, Summer-time and Jazz. Some people 
contend that if this remarkable progress continues, 
magic will become a thing of the past. However, 
I will endeavour to demonstrate that such is not the 


MAGICAL NOTES AND NOTIONS. 


case. It may surprize you to learn that while 
studying chemistry in China at the age of three, I 
invented a system of wireless parcel post. The 
Government appointed a commission to investigate 
my system, but after due consideration they declined 
to have anything to do with it on the ground that it 
would interfere with the Ministry of Circumlocution. 
That my invention is quite practical you will now 
have the opportunity of judging for yourselves. 

I have here six receiving stations — simply ordin- 
ary chocolate boxes — I would like a kind-hearted 
gentleman who is doing nothing more important, to 
select one and examine it thoroughly, just to see 
that it isn’t made of indiarubber, or that it does not 
fold up in any way. Thank you sir ! I will just 
open the remainder, to convince you that they are 
as innocent of deception as I am.” 

As each box is opened, exhibited, and finally 
closed, it is carelessly thrown down again upon the 
table near the rear edge. The sixth box is boldly 
thrown right into the “black art” pocket and the 
bundle of silks is immediately lifted, disclosing the 
loaded box. This change is quite natural and very 
deceptive. 

“ I will now improvise a stand by means of this 
tray and a tumbler, so. Each box, you will observe 
rests under a number, by which it shall in future 
be identified. It will be obvious to you that with 
such small receiving stations it would be impossible 


MAGICAL NOTES AND NOTIONS. 


even for a magician to despatch a very bulky parcel, 
such as a motor car or an elephant, so this evening 
I intend to use a silk handkerchief. In order that I 
shall not be suspected of using confederates, I will 
get someone to select a colour haphazard for which 
purpose I have provided a number of tickets with 
the respective colours written upon them. WiW you 
verify that statement, sir ? Thank you ! Now place 
them in this little velvet bag and I will ask a lady to 
be so good as to select one. Thank you madam. 
The colour ? Green! Very well, that decides the 
colour. Now sir, would you oblige by selecting a 
card from this pack and the number of spots, if six 
or under, shall indicate the receiving station to be 
used. Four ! Very good, sir. Now, ladies and 
gentlemen, I think you will agree that up to this 
point there has not been the slightest loop-hole for 
deception. I will take the green silk, — the only 
green thing about mv entertainment, by the way — 
and I simply stuff the corners through this tiny hole 
in the centre of the silk ; this causes it to automat- 
ically disappear, or rather to start on its aerial flight 
Watch ! Did you see it go, neither did I, but it has 
really gone. I will open the receiving stations one 
at a time, so. Perfectly empty you see. Now for 
the remaining and selected box. Perhaps the 
gentlemen who selected the card would kindly open 
the box himself. There it is you see, and thus ends 
my demonstration of wireless parcel post.” 


Flash Paper Ideas. 


Being several Novel Suggestions of use when arranging a 
New Programme. 


A shilling’s. worth of Flash Paper and an hour’s 
consideration evolved the following little effects, the 
majority of which the writer has tried in public and 
found successful. 

A Vanish for a Watch. 

This startling vanish affords a welcome change 
from the orthodox methods of causing “ the flight of 
time.” A piece of flash paper containing a small 
quantity of Chlorate of Potash and powdered sugar 
mixed in equal parts, is made into a parcel as near 
the bulk of a watch as possible. The prepared 
package is placed on the servante or in some equally 
convenient position out of sight of the audience. A 
watch is borrowed and wrapped in a piece of white 
tissue paper and at the first opportunity is ex- 
changed for the flash paper parcel. This packet is 
placed in a tumbler containing a few drops of 
sulphuric acid. Nothing will happen for a few 
seconds until the acid has had time to soak through 
the paper and come into contact with the chemical, 
then there is a startling flash and nothing remains. 


MAGICAL NOTES AND NOTIONS. 


The watch is disposed of according to the perform- 
er’s fancy. 

The Evolution of a Flag. 

This is an exceedingly pretty experiment, and 
depends, as in the foregoing trick, upon an exchange 
of packets. In this instance a silk Union Jack is 
rolled into a bundle and wrapped in flash paper, one 
corner being allowed to protrude. In presenting the 
effect, which is best worked in connection with some 
handkerchief or flag combination, three silks, Red, 
White, and Blue, respectively are wrapped in a 
piece of white tissue paper ; the exchange of pack- 
ets is made and the prepared parcel is held to the 
flame of a candle. The corner of the flag is gripped, 
and a smart jerk clears it from the blazing flash. 
The paper burns so rapidly that there is little fear 
of spoiling the flag. The foregoing makes a fine 
finish to the ever popular “ Twentieth Century 
Handkerchief Trick.” 

An idea for a Flash Bouquet . 

Here is a suggestion worthy of a trial by those 
who have sufficient time to devote to experimental 
magic. The performer wraps a borrowed glove or 
other small article in a piece of paper and throws it 
into the air. A burst of flame transforms the parcel 
into a bouquet of spring flowers. This, as stated, is 
only a rough idea and the only difficulty presenting 
itself is the fact that spring flowers, especially the 
paper variety, so easily catch fire. Some fire- 


MAGICAL NOTES AND NOTIONS. 


proofing process seems to be necessary, and this 
would have to be done before the flowers were made 
as otherwise the result would perhaps not be quite 
satisfactory. 

The firing of the flash paper in mid-air is easily 
accomplished by the aid of a “ flash tube ” which 
must be wrapped up in the corner of the prepared 
parcel. The tube is snapped by the fingers in the 
act of throwing the parcel into the air. 

Flash tubes can be obtained from all dealers in 
magical apparatus. 


A “Live” Rabbit. 


A very realistic effect for use in connection with any 
Trick. 


Practically every magician, whether amateur or 
professional has witnessed Mr. David Devant’s 
admirable vanish of a rabbit, wherein the animal 
(“ wild animal” Mr. Devant calls it when bunny 
pops his head up over the servante. “ Wild con- 
jurer” I expect also fits the case) is apparently 
w 7 rapped in a sheet of paper. It always struck me 
that the rabbit vanished too quickly after the wrapp- 
ing up process. To overcome this I devised the 
following expedient, which convinces the audience 
of the rabbit’s presence when the animal is really far 
away exploring the depths of a tray servante or 
profonde. 

The apparatus is quite simple, consisting of a 
long rubber tube fitted with a small bladder at one 
end and a press-bulb at the other. This may be 
obtained very cheaply from a dealer, under the 
name of ” plate-lifter.” The tube is attached to a 
chair, the bulb being arranged behind the top rail 
and the bladder under a fancy velvet cover on the 
seat of the chair. Failing a velvet cover an ordinary 
newspaper will serve tjp F ur P ose ’ 


MAGICAL NOTES AND NOTIONS. 


The rabbit is apparently wrapped in a piece of 
paper (really being dropped into chair or tray ser- 
vante, according to the fancy of the performer and 
the size of the rabbit). The parcel is now laid upon 
the seat ot the chair, over the concealed bladder. 
The conjurer now lightly rests his hand upon the 
top rail and judiciously presses the bulb, thus im- 
parting a life-like wobbly motion to the paper parcel, 
just as if bunny were trying to escape from his 
paper prison. After a reasonable amount of this 
by-play the parcel is crushed up in the usual manner. 
I have been very gratified by the comments of 
brother magicians who have witnessed this little 
interlude, and I trust that many readers will be able 
to press it into service. 


Fishing for Money. 


A Novel addition to the Aerial Treasury Trick. 


To “ fish for money ” in the ordinary sense is a 
common enough practice, especially among magic- 
ians, but angling for coins over the heads of an 
audience, savours of novelty, and I think the follow- 
ing original effect will be acceptable to those 
readers who may be partial to coin effects. 

A fishing rod of any description may be used, to 
the line of which is attached a small swivel. The 
fake consists of a small tin tube painted black, and 
of just sufficient size to take a folding penny com- 
fortably. The tube has a small wire ring soldered 
to one end, to which is attached a piece of thin 
catgut of strong thread about three inches in length. 
The thread runs down through the tube and is 
attached to the centre section of a folding coin, for 
which purpose a minature hole is drilled in the coin. 
The coin, of course, is to be silver-plated. The 
coin is folded and pushed up into the tube from 
whence a jerk will dislodge it, the effect of the coin 
suddenly appearing in mid-air is quite startling. 
The coin is apparently taken from the line and 


MAGICAL NOTES AND NOTIONS. 


thrown into a hat or other receptacle ; really the 
folding coin is pushed back into the tube and a coin 
previously palmed is thrown. If the performer 
desires he may use separate fakes, as in the well 
known Aerial Fishing Trick ; in fact the writer works 
three tricks in sequence, viz. : — Aerial Treasury 
with bowler hat, in the usual way, followed by the 
fishing rod effect and finishing with the catching of 
live goldfish, a sequence of effects which invariably 
meets with appreciation. 

The folding -coins are familiar to anyone who has 
dabbled in magic to the slightest extent, and they 
may be obtained from any magical dealer at a 
nominal price. 


/ 


The Suffragette Problem. 


Aq amusing experiment suitable for any occasion- 


The magician brings forward a plate upon which 
are a number of balls of wool of various brilliant 
colours. The wool is placed into a velvet bag. A 
tumbler and a bordered “Excelda” handkerchief 
are given to a spectator with the request that he will 
examine both. A lady is persuaded to select a ball 
of wool from the bag. The ball of wool is wrapped 
up in the handkerchief which is then stuffed into the 
tumbler. The tumbler is placed in full view upon 
the table, or a spectator may retain it. The conjurer 
now r requests that names of well known people 
should be called out, and he proceeds to write them 
dowm upon small blank cards which he has provided 
for the purpose. The cards are thrown into a hat 
and thoroughly mixed, and a member of the audience 
freely selects one. 

The name written upon the card is duly announced 
and upon the handkerchief being removed from the 
tumbler the selected name is found embroidered in 
bold wmollen letters upon the fabric. 

Requirements and Preparation. 

To prepare for the trick it is necessary to em- 
broider upon a duplicate handkerchief, in wool of a 
very brilliant colour, the name of some celebrity — 
in the present case, Mrs. Pankhurst (see final note). 


MAGICAL NOTES AND NOTIONS. 


The spare wool should be left hanging to the hand- 
kerchief, as it adds to the effect. This handkerchief 
is stuffed into a small tumbler and is placed on a 
Jap tray, near the rear edge, and is covered with a 
bowler hat. The velvet bag is of the double variety, 
or a “ Velvet Changing Bag ” may be utilised. One 
side of the bag is loaded with a few balls of wool all 
of the colour to match that on the prepared handker- 
chief. The balls of wool of assorted colours when 
tilted from the plate are allowed to fall into the 
empty side of the bag. When the spectator is 
invited to choose a ball the side of the bag contain- 
the duplicates is presented, thus ensuring his selec- 
tion to be in accordance with the performer^ wishes. 
No matter what names the audience call out, the 
magician writes down “ Mrs. Pankhurst ” upon each 
card. If the audience is numerous there is no fear 
of the conjurer getting into a fix, as such a well 
known name is certain to be called out two or three 
times. If the reader is at all doubtful, or not inclined 
to take even such a remote risk, he can give pencils 
and cards to various spectators for them to write 
names upon, in which case the conjurer deftly 
changes these for a pack all alike, and thus accom- 
plishes his object. It will now be clear to the reader 
that in spite of the apparent fairness of everything, 
both the name and the ball of wool are actually 
forced upon the audience. 

The Jap tray, by the way, is placed upon the 
table so that the rear edge of tray is just in front of 


MAGICAL NOTES AND NOTIONS. 


a “ black art ” pocket. After the selected ball of 
wool and handkerchief are stuffed into the tumbler, 
the conjurer apparently places it upon the table, at 
the same time picking up the hat and cards to make 
room for it. What really happens is that the per- 
former drops the tumbler into the “ black art 5 
pocket and the hat being immediately lifted with the 
other hand discloses the prepared glass. A gentle 
tap on the edge of the tray with the first glass 
greatly assists the deceptiveness of this easy change. 

The remainder of the trick is obvious, as it only 
remains to disclose the chosen name on the handker- 
chief. 

Suggested Patter. 

“ I think my next experiment will prove of great 
interest to the ladies, as I intend to make use of 
these very pretty balls of worsted and this white 
handkerchief, together with this innocent tumbler. 
This handkerchief, although to outward appearance 
is quite an ordinary article, is really possessed of 
magical qualities. I obtained it from Messrs. Cooks 
of Ludgate Circus —I asked them to supply me with 
one of their famous magic carpets, but unfortunately 
they were out of stock, so they sent me this hand- 
kerchief. Its magical powers I will presently 
demonstrate to you. Meanwhile I would be pleased 
if some good naturcd lady, who has nothing to talk 
about for a few moments, would kindly tip these 
balls of wool into this dainty little bag. Thank you 
so much ! You did that quite artistically. Now per- 


MAGICAL NOTES AND NOTIONS. 


haps you will select one, haphazard. Green ! What 
a delightful colour. Now, please, wrap it up in this 
magic carpet — handkerchief I mean — and stuff it 
into this tumbler. This is not the first time you have 
ever stuffed, is it ? I thought not, you do it so well. 

I will place it in full view upon this, — this what-you- 
might call it — that’s French for table. 

Now please call out the names of any celebrated 
persons, and I will write them down on these blank 
cards. Please don’t call out any fictitious name, 
such as Bill Bailey or Mrs. Grundy. Lloyd George ! 
The success of the experiment is now insured. 
Horatio Bottomley ! Very good, that precludes any 
chance of trickery. Mrs. Pankhurst ! Thank you, 
comment is unnecessary. 

Now I will thoroughly mix the cards in this hat, 
and will get this sympathetic looking gentleman to 
take one. The name, sir ? Mrs. Pankhurst 1 As I 
suspected. Probably another plot. But we must 
proceed with the experiment in spite of the possibility 
of bombs. Here is the name, darned upon the 
handkerchief. Magic fabric, but not proof against 
the schemes of a resourceful suffragette.” 

If one of those little exploding arrangements, sold 
by most dealers under the name of t% Detonators,” is 
placed under the prepared tumbler, a fine effect is 
obtained, as a tremendous report is heard when the 
tumbler is lifted, just after the conjurer has mention- 
ed bombs. 

NOTE. — Although times have changed the mise en scene can easily be made 
to bear relation to present day topics. 


The Levitation of a Piece 
of Paper. 


A Weird and Puzzling Problem. 


This effect is by no means new, but judging by 
the number of magicians who confess ignorance of 
the methods employed, it should be of sufficient 
interest to be included in this volume. To whom the 
credit of its invention is due I am at a loss to say, 
but I believe the effect, or one very similar, has been 
popular with, and for a long time in the programme 
of that able member of the Inner Magical Circle, 
Mr. G. H. Charlton. 

judging from the advertising columns of the 
American magical magazines, that country fairly 
teems with various forms of the trick. The method 
described here, however, will be found as convenient 
as could be wished. 

In effect the magician crushes up a piece of tissue 
paper into a ball and drops it into an opera hat. 
Passes are made over the hat, and the paper is seen 
to float slowly up into mid-air. The conjurer now 
proves the absence of tangible support by waving 
the closed hat in all directions around the suspended 


MAGICAL NOTES AND NOTIONS. 


paper, finally reaching the climax by passing a solid 
hoop over and around the paper. When accompanied 
by appropriate music the effect is uncanny in the 
extreme. 

The secret is very simple, the whole trick depend- 
ing upon a length of fine black silk thread, or in the 
case of very close quarters, a long length of hair. 

Requirements. 

A piece of extra superfine machine silk about a 
yard in length, according to the height and reach of 
the performer; a piece of tissue paper about fifteen 
inches square, an ordinary wooden hoop (pre-war 
penny size), and a hat — opera hat for preference. 

Preparation. 

One end of the thread is attached to a loop of 
fine wire, large enough to fit over the performer’s 
ear. The other end of the thread is attached to the 
top rail of a rather high-backed chair ; if performing 
on a platform or stage, one of the wings will probably 
be more convenient, but much depends upon the 
height of the performer. The wire loop is laid on 
the seat of the chair in company with the piece of 
paper and the hoop. 

Presentation. 

The performer enters from the “ prompt ” side, 
with the closed opera hat under his left arm. He 
proceeds somewhat as follows : — 

“ Ladies and gentlemen, I will next show you a 


MAGICAL NOTES AND NOTIONS. 


mysterious effect with a piece of paper. I am very 
fond of mysterious things, in fact, when a boy, I was 
very fond of sausages. For the purpose of the 
demonstration I shall make use of this hat and this 
small piece of paper.” 

Here the conjurer picks up the hoop and the loop 
of wire together, and puts the hoop over his head, 
allowing it to hang on his neck. The wire loop is 
slipped over the right ear which will be on the side 
away from the audience. The paper is exhibited and 
crushed round the centre of the thread which should 
be just taut. The paper is to be entangled with the 
thread. The conjurer now slackens the thread and 
drops the paper into the hat. The performer now 
has full scope for showmanship by making passes 
over the hat ; stepping slowly back causes the 
paper to rise. It is useless to make these passes in 
a matter-of-fact sort of way as though the levitation 
of a piece ot paper was a common occurence, it 
being essential, if the full effect is to be obtained, 
for the conjurer to really imagine that the passes 
cause the paper to rise. 

Having raised the paper to a sufficient height the 
performer closes the hat and waves it above and 
below the ball, taking care not to jerk or disturb the 
thread. The hat is replaced under the left arm, and 
the right hand takes the hoop from over the head. 
The hoop is passed in every direction round the 
paper as far as the thread will allow. This hoop 
passing movement will come readily to the reader 


MAGICAL NOTES AND NOTIONS. 


upon actual experiment, the effect to the audience 
being that the hoop proves the impossibility of sup- 
port. The hoop is replaced over the head, and the 
paper allowed to sink back into the hat which is 
held in readiness. 

The thread is broken, or the wire loop slipped off 
the ear, and a bow brings the experiment to a con- 
clusion. 

It is not advisable to continue talking while the 
actual levitation is taking place, as it tends to 
distract the attention of the audience away from the 
paper. This is one of the few experiments in which 
the attention of the audience should be allowed to 
concentrate upon the performer and his movements, 
to the exclusion of all else. 

If the performer cares to use flash paper, finally 
burning it in mid-air, he can introduce the problem 
as a direct contradiction of two well known natural 
laws — gravity, and the indestructibility of matter. 


The 

Transformation Tumbler. 


A Novel Accessory of Exceptional Utility. 


The conjurer comes forward carrying a tray upon 
which is seen a glass of ink. In order to prove the 
genuineness of the ink the performer casually passes 
it in front of several members of the audience, inviting 
them to dip their fingers in if they feel at all 
sceptical. Having satisfied the spectators on this 
point, the glass of ink is covered with an unprepared 
tube made of cartridge paper. A canary is taken 
from a cage and placed into a paper cone or “ sugar 
bag ” which is made up in front of the audience. 
A transposition now takes place, for upon removing 
the cover the canary is seen in the tumbler ; the bird 
is replaced in the cage and the conjurer cuts off the 
point of the cone and the ink runs out into the glass. 

The most important piece of apparatus used in 
this experiment is a tumbler with a clear celluloid 
lining to fit comfortably in it. This lining, instead 
of having the usual bottom, has a horizontal partition 
across it about an inch and a half from the top. 


MAGICAL NOTES AND NOTIONS. 


This partition must be waterproof. The inside space 
under the partition must be .blackened with Indian 
ink. A duplicate canary is inserted in this cavity 
and the fake is then carefully lowered into the 
tumbler. A little real ink is now poured upon the 
top of the partition and at even close quarters it is 
impossible to detect anything unusual. A child’s 
rubber air-ball or “ squeaker,” to be obtained at any 
toy bazaar, is filled with ink and secured with a 
piece of silk thread. This bladder may be carried 
in the profonde or any other convenient pocket, and 
is to be loaded into the cone at the first favourable 
opportunity. The canary is taken from the cage 
and placed into the cone on top of the bladder, and 
the top of the cone is folded over and secured with a 
pin. 

In taking the cover from the glass the conjurer 
nips the celluloid lining with his fingers and brings 
it clear away from the glass. If the table possesses 
a “ black art ” well, of just sufficient size to fit the 
celluloid lining, the fake may be dropped into it 
without fear of splashing, thus allowing the cover to 
be casually knocked over, thus indirectly demon- 
strating its innocence. The performer now removes 
the canary from the tumbler, and taking a pair of 
scissors he cuts the bottom off the cone — of course 
cutting the bladder as well — allowing the ink to run 
into the tumbler. 


If the reader desires to perform the trick exactly 


MAGICAL NOTES AND NOTIONS. 


as described, he would do well to bear in mind that 
a rather large tumbler is necessary to allow the bird 
to drop from the fake freely. This may also be 
facilitated by cutting a V-shaped section away from 
the back of the celluloid lining. 

The possibilities of this idea are endless ; for 
instance a glass of ink might be transformed to an 
egg, and the egg could be broken to prove its gen- 
uineness. The celluloid fake should be made by 
someone experienced in this, line, as the fake must 
necessarily be strong and reliable. The fault of 
amateurs in working celluloid is that they use too 
much cement and have not the patience to allow it 
to dry properly. If too much cement is Vised the 
fake will warp and congeal. 


The Lightning 
Ink and Water Change. 


A Startling Chemical Effect worthy of a place in any 
Programme. 


This wonderful effect, although often demonstrated 
in the laboratories of our Secondary and Technical 
Schools, is not such a favourite among magicians as 
it deserves to be ; probably this is because of the 
unsatisfactory results obtained by some experi- 
menters. To whom the credit is due for adapting 
this chemical effect to a magical performance, the 
writer has been unable to ascertain, or he would 
certainly have been associated here with the trick. 
The writer is a firm believer in the maxim, “ Credit 
where Credit is due,” and for this reason he has 
confined himself to explaining in this little volume 
either items original with him, or tricks of which the 
originators are unknown. If magicians would take 
full advantage of the facilities for registration of 
magical effects, offered by the magazines it would 
save much of the disputing that at present takes 
place. 


MAGICAL NOTES AND NOTIONS. 


But to return to the effect in question ; the con- 
jurer exhibits a glass of ink, afterwards covering it 
with a handkerchief or flag. A glass of perfectly 
clear water is given to a spectator to hold up in full 
view of the audience, At the command of the mag- 
ician the water changes instantaneously into ink, the 
change being so sudden that it is necessary to warn 
the holder of the glass to be careful, or there is a 
great risk of his dropping the glass in his astonish- 
ment. The other tumbler, when uncovered, is found 
to contain the water. 

The quantities given here have been obtained by 
personal experiment, and the results have been 
carefully checked by interested professional chemists. 
The time elapsing before the change takes place 
can be varied at will, the best result being obtained 
at a space of ninety to one hundred and thirty sec- 
onds — quite long enough for the conjurer to deliver 
a reasonable amount of patter, and sufficient to lead 
the audience into believing it impossible for 
chemicals to play any part in the effect. 

The success of the trick depends upon the careful 
and conscientious preparation of the following stock 
solutions : — 

A. 5 02. of distilled water. 

i scruple of Iodic Acid Crystals. 

B. 4 drams of Sulphurous Acid. 

4\ 02s. of distilled water. 

C. j grains of Starch finely powdered. 

4 02s. of distilled water. 


MAGICAL NOTES AND NOTIONS. 


To use — 

Place in tumbler — 

1 dram of A. 

3 drams of C. 

3 oss. of distilled water. 

Place in a small glass jug — 

2 drams of B. 

14 drams of distilled water. 

Pour contents of jug into tumbler. 

Time taken to change , 40 seconds. 

The Iodic Acid Crystals can be obtained from 
Messrs. Baird & Tatlock, Laboratory Furnishers, of 
Cross Street, Hatton Garden, E.C., at (pre-war) 
two shillings per ounce. Half an ounce is sufficient 
for thirty to fifty shows, so that compared with the 
great effect the materials are very cheap. 

The starch solution should be freshly made, as it 
spoils very quickly ; it is also essential that the 
starch be crushed up and boiled, afterwards being 
filtered through blotting paper. 

The Sulphurous Acid (not Sulphuric) may be 
obtained from any chemist. 

The remaining part of the trick, the change from 
ink to water, is accomplished by the time-honoured 
black silk lining being fitted to the interior of the 
tumbler. When the covering flag is removed this 
silk lining is gripped by the finger and thumb and 
brought away with it. 


The “Eureka” Slate. 


A Convincing Method of Working a Popular Trick. 


The performer exhibits a slate which is then 
marked on both sides with identifying numbers or 
letters of the spectators’ own choosing. The slate 
is then wrapped up in an unprepared examined cloth. 
A word is chosen from a book and upon unwrapping 
the slate the chosen word is found boldly written 
upon it in chalk. Such is the effect as seen by the 
audience. 

Before explaining the method employed to bring 
about such an apparently impossible result, the 
writer desires to mention that he invented (?) this 
idea some years ago, but was surprised to find upon 
reading “ Spirit Slate Writing,” an exceptionally 
clever treatise by W. E. Robinson,* the idea therein 
explained ; the present writer must therefore take a 
back seat as regards precedence. However, the 
secret is apparently still very little known among 
magicians, and that is the justification for inserting 
it here. 

The secret is beautifully simple. Only one slate 
is used, and the usual thin slate-coloured flap. The 

*The late Chung Ling Soo, the kindliest of conjurers. 


MAGICAL NOTES AND NOTIONS. 


flap has a semi-circular piece cut away from 
one of the top corners. The slate is prepared by 
writing upon it the word it is intended to use. The 
flap is then super-imposed and a chalk mark made 
along the semi-circular edge where it joins the slate. 
This mark, which completely hides the junction, may 
be made before the performance, or it may be made 
in full view of the audience, according to the dis- 
cretion of the conjurer. The flap is best made of 
thin zinc covered with slate paper. 

The conjurer picks up the slate and asks for an 
identifying letter to be called out, at the same time 
he casually makes a semi-circular mark in the corner 
of the unprepared side of the slate. This is quite 
natural and excites no comment, as it is obviously 
done to isolate the mark and thus leave the remain- 
der of the space for the “ spirits ” to disport them- 
selves upon. Let us suppose that a spectator calls 
out “ R.” The conjurer writes that letter in the 
corner provided inside the line, and then turns the 
slate over, the flap being held in position by the 
fingers. Another spectator calls out “ D,” which 
the conjurer writes in the reserved corner — as the 
slate is flap side up this last letter is written on the 
slate proper. If the flap is thin and accurate in fit 
it is quite safe to hold the slate so that the spec- 
tators may mark it themselves, provided of course 
that they mark it in the proper corners. He would 
be a very ill-mannered person who would do other- 
wise, but such things have a knack of happening 


MAGICAL NOTES AND NOTIONS. 


when least expected. The slate is laid flap down- 
wards upon a table with a black covering — a black 
Jap tray will do excellently. The magician now 
exhibits the handkerchief or other wrapper, which 
may very well be borrowed. The handkerchief is 
held by the teeth and the left hand, which leaves 
the right hand at liberty to to pick up the slate which 
is then gracefully wrapped up and given into the 
custody of a lady until the end of the experiment. 

The remaining part of the trick is familiar to every 
magician, the required word being forced in the 
manner most convenient to the reader. The writer 
prefers the old magical addition method, the total of 
a sum indicating the page at which a book is to be 
opened, and loaded dice or the number of spots on a 
chosen playing card determines the position of the 
freely (?) selected word. 

If performing the above twice at the same hall, or 
before the same audience, it is advisable to reverse 
the process by giving the slate for examination first, 
adding the flap to it in the act of wrapping the slate 
up. The word in this case is written beforehand on 
the flap. 

The effect in either case is certainly as perfect as 
could be wished and no doubt this reminder will 
cause many neglected slates to be once again 
brought into use. 


An Egg, Handkerchief, 
& Milk Combination. 


A Laughable Series of Surprises in which the Performer's 
Assistant Plays an Important Part. 


In this instance the writer will adhere to his usual 
custom, and describe the trick exactly as he has 
been in the habit of performing it. The reader can 
then adapt or convert it to suit his own purpose. 

In the writer’s own programme this trick always 
follows the production of a borrowed watch, together 
with a rabbit, from a nest of eight boxes (a problem 
too well known to need description here). In the 
act of taking the rabbit from the last box the con- 
jurer simply tilts the box over with the bottom toward 
the audience. This quite natural and apparently 
accidental move serves the double purpose of 
allowing the spectators to see that the box is not 
one of the bottomless variety, and leaves the table 
prepared for the combination of effects about to be 
described, and which invariably “ brings down the 
house.” 


MAGICAL NOTES AND NOTIONS. 


Having finished the experiment with the rabbit 
and boxes, the performer expresses a desire for 
refreshment. His assistant therefore brings forward 
a tray containing a small jug of milk, an egg, and a 
tumbler. The conjurer breaks the egg, which should 
be of a reliable brand, into the tumbler, and adds 
the milk from the jug. He now seeps forward to the 
front of the platform to demonstrate the innocence 
of the jug to the audience. A this point a titter of 
merriment goes round the audience, which the con- 
jurer feigns not to understand, but as the titter 
increases to a roar of laughter, he turns round and 
discovers that his assistant has consumed the con- 
tents of the tumbler, and is wiping his mouth with a 
coloured silk which he has taken from his vest 
pocket. 

The conjurer is naturally annoyed to find himself 
deprived of the refreshment, but proceeds to recover 
the milk by magical means. He thereupon stuffs 
the egg-shell and the coloured silk into the empty 
jug which he then places upon the table, the assist- 
meanwhile taking up a position a little to the rear of 
table. After a little by-play the performer pats the 
assistant smartly on the head and withdraws the 
silk, perfectly dry, from his mouth. The jug is then 
taken up and is again full of milk, which is poured 
into the tumbler ! Everything is thus accounted for 
with the exception of the egg ; another tap upon the 
assistant’s head, and the egg, perfectly restored, is 
seen to protrude from his mouth. The conjurer 


MAGICAL NOTES AND NOTIONS. 


takes the egg, breaks in into the tumbler of milk, 
and retires to partake of his well earned refresher. 

The above is one of those problems with ordinary 
household articles, that are acceptable now that the 
age of miracles, as represented by the violently 
suggestive tin caddies and cannisters of our boyhood 
days, has ceased. 

A duplicate jug of milk is placed on the servante 
and the assistant, at a favourable moment, places it 
on the table behind the box. The assistant has, 
vested, a hollow ivorine egg containing a duplicate 
silk; the hole, by the way, is in the end of the egg, 
not the side as is usually the case. The performer 
has a duplicate real egg vested which in the course 
of the trick is exchanged for the hollow one. The 
performer really places the first jug right into the 
box which he immediately places aside, thus dis- 
closing the duplicate jug. This change is practically 
identical with that employed in the “ Chocolate Box 
Mystery,” and the “ Suffragette Problem.” 

The assistant takes the first opportunity afforded 
of slipping the prepared egg into his mouth. The 
jugs used by the writer are of the size usually seen 
on restaurant tea tables. 

The element of comedy in the foregoing effect is 
rather broad and needs careful treatment if presented 
in a drawing room, but for stage or platform use the 
fullest play can be given to it, as it is admirably 
suited to a public audience. 


WILFORD HUTCHINSON, 

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